SOUND DRAMATURGY OF BELARUSIAN ART FILMS

Abstract

The article discusses the main models of sound drama in modern Belarusian feature films. Sound dramaturgy is interpreted as a structural and semantic organization of intra-frame and off-screen forms of sound components (speech, music, noise) in their various compositional and dramatic functions in order to create a complete sound and sound-visual image of the film. Each of the main sound components has its own properties, but they can be classified according to the following characteristics: functionality, content, phonism. The speech and noise components are characterized by all the main properties (compositional and dramatic functions, structural and semantic significance, loudness, tempo, timbre characteristics). The musical component is the most complex in its structure and differs both in its inherent characteristics (musical means of expression, genre-style features, features of the composer's technique, etc.) and in the forms of existence in the screen work. Entering into a complex interaction, all the sound components create a sound drama that is part of the overall drama of the film.

The functioning of all the sound components of the film is analyzed on the material of modern Belarusian feature films of different genres – detective, psychological drama, horror, biopic. In the biographical film “Kupala” an extensive sound drama is created on the basis of leitmotivism, monothematism and polystylistics. The author’s reinterpretation of musical sources and active work with quoted material are present in the tapes “Masakra” and “Footprints on the Water”. The author notes the diverse structural-semantic and timbre-coloristic functions of the speech component, as well as the symbolic and conceptual role of the noise sphere in the paintings “Kupala” and “In the Fog”. It is concluded that the sound dramaturgy of a modern film acts as a system of sound means of the screen work in their figurative, meaningful and constructive unity.